By MCN Editor editor@moviecitynews.com

2011 SUNDANCE FILM FESTIVAL ADDS KENTIS-LAU SILENT HOUSE TO LINE UP

Posted Tuesday, December 28th, 2010 - 1 Comment »
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For Immediate Release

PARK CITY, UT, December 28, 2010—Sundance Institute announced today that filmmakers Chris Kentis and Laura Lau (Open Water) will return to the Sundance Film Festival  with their latest feature, Silent House, which will have its world premiere in the out-of-competition Park City at Midnight section. The Sundance Film Festival runs January 20-30, 2011 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival.

Following Open Water, which screened at the 2004 Sundance Film Festival, filmmaking duo Chris Kentis and Laura Lau once again confront the face of fear in this enthralling psychological thriller. Impressively captured with a continuous camera shot, Silent House tracks the growing panic of its enigmatic lead, Elizabeth Olsen, who’s trapped in an unnerving nightmare. Never ones to be limited by a challenging production, Kentis and Lau mastermind a truly unique horror experience with immediate intimacy and unsettling terror.

With the addition of this film, the Festival will present 118 feature-length films, representing 29 countries by 40 first-time filmmakers, including 25 in competition. These films were selected from 3,812 feature-length film submissions composed of 1,943 U.S. and 1,869 international feature-length films. 95 films at the Festival will be world premieres.

Silent House / U.S.A. (Directors: Chris Kentis & Laura Lau; Screenwriter: Laura Lau) — A hauntingly choreographed descent into madness based on the Uruguayan film La Casa Muda. Cast: Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens, Julia Taylor Ross, Haley Murphy, Adam Barnett. World Premiere

Festival Sponsors

The 2011 Sundance Film Festival sponsors include: Presenting Sponsors—Entertainment Weekly, HP, Acura, Sundance Channel and Chase Sapphire; Leadership Sponsors—Bing™, Canon, DIRECTV, Honda, Southwest Airlines and YouTube™; Sustaining Sponsors—FilterForGood®, a partnership between Brita® and Nalgene®, L’Oréal Paris, Stella Artois®, Timberland, and Trident Vitality™. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations will defray costs associated with the 10-day Festival and the nonprofit Sundance Institute’s year-round programs for independent film and theatre artists. In return, sponsorship of the preeminent Festival provides these organizations with global exposure, a platform for brand impressions and unique access to Festival attendees.

About Sundance Film Festival

Supported by the nonprofit Sundance Institute, the Festival has introduced global audiences to some of the most ground-breaking films of the past two decades, including sex, lies, and videotape, Maria Full of Grace, The Cove, Hedwig and the Angry Inch, An Inconvenient Truth, Precious, Trouble the Water and Napoleon Dynamite and, through its New Frontier initiative, has brought the cinematic works of media artists including Isaac Julian, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp and Matthew Barney. www.sundance.org/festival

Sundance Institute

Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America.  www.sundance.org

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “2011 SUNDANCE FILM FESTIVAL ADDS KENTIS-LAU SILENT HOUSE TO LINE UP”

  1. gaelyn thomson says:
    December 29, 2010 at 12:58 am

    i do anything anything to meet eric sheffer stevens he is my favorite actor and always will be he is also my love of my life i now he is marryed but he is my love

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon